Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Cultural glocalization or resistance? Interrogating the Title production of YouTube videos at an Irish summer college through practice-based research Author(s) Mac Dubhghaill, Uinsionn Publication Date 2017-03 Item record http://hdl.handle.net/10379/6912 Downloaded 2021-09-28T20:59:24Z Some rights reserved. For more information, please see the item record link above. Cultural glocalization or resistance? Interrogating the production of YouTube videos at an Irish summer college through practice-based research Uinsionn Mac Dubhghaill B.A., H.Dip. in Ed., M.A. This thesis is submitted for the degree of PhD Huston School of Film & Digital Media National University of Ireland, Galway March 2017 Supervisors Prof. Rod Stoneman & Dr. Seán Crosson In Memoriam Vincent Mac Dowell (1925–2003) ‘When I was a child, my father would recount how the power, wealth and status of the high priests in ancient Egypt derived from their ability to predict the annual Nile floods, essential to the country’s agricultural economy. The priests derived this knowledge from astronomical observations and a system for monitoring river levels, but hid it in arcane language and religious symbolism in order to maintain their power, and pass it on to their children. He told us this story in order to teach us to question the language the elites use in order to preserve their own privileges.’ This thesis document, pp. 95-96 i DECLARATION This thesis is submitted in two parts. The first part is a body of creative practice in film, and the second part is this written exegesis. The body of practice consists of the principal doctoral film Dúshlán Lurgan/The Lurgan Challenge together with two short precursor films, Cochaillín Dearg/Little Red Riding Hood and Aisling san Áis/A Vision in Asia. These films are in the Irish language. A subtitled copy of the principal doctoral film (with subtitles in English) is included on the DVDs which accompany this written exegesis. The films which form the body of practice, and this written exegesis, are the result of my own work and include nothing that is the outcome of work done in collaboration except where specifically indicated in the films or in the text. The final doctoral film Dúshlán Lurgan includes a number of short extracts from YouTube videos produced at Coláiste Lurgan, Indreabhán, Co. Galway, Ireland. These are used with permission, and indicated in the film. The precursor film Cochaillín Dearg includes footage shot and used with permission during performances of a school musical in 2011. None of this work has been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. Signed: ______________________________________________________ Date: ________________________________________________________ Uinsionn Mac Dubhghaill B.A., H.Dip. in Ed., M.A. Gaillimh ii ABSTRACT This thesis includes the film Dúshlán Lurgan/The Lurgan Challenge and a written exegesis which reflects on the film's 'generative performance'. The film asks if making Irish-language versions of music videos in English at Coláiste Lurgan in Connemara can be understood as an example of the cultural hybridity described by Nederveen Pieterse (2004a) as evidence of cultural vigour, or if the phenomenon is better understood as an act of assimilation, by reworking cultural products in a hegemonic language (English) into a lesser-spoken language (Irish) that is threatened with erasure for a variety of reasons, not least of which is the increasing dominance of the hegemonic language in a globalized era. It also presents prima facie evidence of the impact of creativity and creative processes (including singing, music-making, dance and video production) on language learning among adolescent learners. The principal method of inquiry is through the production of an essay film that incorporates elements of self- reflexive documentary with ethnographic footage shot on location at Coláiste Lurgan during the summer of 2014. The master version of the film is in Irish, and a second version with subtitles in English is also available. Two short precursor films form part of the thesis and are included in the submitted body of film practice; these are Cochaillín Dearg/Little Red Riding Hood and Aisling san Áis/A Vision in Asia. The written exegesis comprises a contextual analysis which situates the film in relation to the literature on practice-based research in film and the creative arts; the literature on the nature of the essay film; and academic discourses concerning cultural globalization. It also includes a critical reflection which examines the development of the creative approach during pre- production, production, and post-production, and focuses on how the structure of the final film emerged through processes of trial and error, and through 'rituals of making' (Kentridge, 2016). A number of theoretical questions arising from the study are analysed, and some implications of the research for public policy are discussed. In accordance with the practice-based methodological approach adopted, the written exegesis is best understood in relation to the artwork produced during the creative research process. For that reason the reader is encouraged to view the film before reading the written text. iii ACKNOWLEDGEMENTS Firstly, I would like to express my sincere gratitude to my lead supervisor, Prof. Rod Stoneman, for his careful mentoring and gentle guidance during my doctoral research. His intellectual rigour, boyish enthusiasm, and sheer delight in challenging established orthodoxies meant that our meetings were never dull, and always illuminating. I would also like to thank my co-supervisor, Dr. Seán Crosson, for his insightful comments, patient and probing questioning, and continuing support during what became a long and, at times, a wayward peregrination. I also wish to acknowledge the particular support and encouragement of Dónall Ó Braonáin in Acadamh na hOllscolaíochta Gaeilge at the National University of Ireland, Galway. Without his understanding and help this doctorate would not have been brought to a successful conclusion. I am grateful too to Dr. Seathrún Ó Tuairisg in the Acadamh, who gave me the space to advance my studies while he was acting line manager in the unit where I work, and to my colleagues in the unit for their forbearance during the latter stages of the doctorate. The cheerful demeanour and quiet competence of Dee Quinn, School Coordinator at the Huston School of Film & Digital Media, was much appreciated on many a dark morning. I will be eternally grateful for the institutional support of NUI, Galway, in giving me the opportunity to pursue these studies with the assistance of the university's Further Education Programme. I would like to thank the staff and students of Coláiste Lurgan in Indreabhán, Co. Galway, for allowing me to film the activities of 'Cúrsa C' during July and August, 2014. Their friendly exuberance and creativity is a testament to the unique spirit of the summer college. I am particularly grateful to the manager of Coláiste Lurgan, Mícheál Ó Foighil, and to the college cameraman and film editor, Éamonn Mac Mánais, for their good-humoured patience and tolerance, and for the completely unfiltered and unfettered access afforded to me. I would also like to give a shout-out to the rock group, Seo Linn, and its dynamic and inspirational lineout during its summer residency at the college in 2014. The energy, vitality, and leadership given to the students by musicians and teachers iv Stiofán Ó Fearail, Keith Ó Briain, Jenny Ní Ruiséil, Daithí Ó Ruaidh, Cathal Ó Ruaidh, Kevin Soirtéal and Conchúr Ó Mórdha, combined with the interventions of animateur extraordinaire Séamus 'T-Rex' Ó Fionnagáin, serve as a reminder to educators everywhere that the teaching of a language can be a joyous and liberating activity. So too does the work of teachers Méadbh Ní Fhoighil and Úna Uí Dhireáin, and that of the former principal of Scoil Cholmcille primary school in An Tulach, Baile na hAbhann, Co. Galway, Philomena Uí Dhubhghaill. My thanks to them, and to the participants in the school's award- winning 2011 musical, Cochaillín Dearg Ar Strae, which inspired one of the precursor films. Go mba fada buan iad ar fad. I am grateful to Bríd Seoighe in Abú Media in Indreabhán, Co. Galway, who gave me invaluable advice, guidance and practical help in the preparation of funding applications to An Chomhairle Ealaíon / The Arts Council, and TG4, and who made informal approaches to RTÉ on my behalf. Thanks also to Justin McCarthy of An Spidéal, Co. Galway, whose wealth of knowledge, experience and expertise in film editing is matched only by his creative energy and infectious enthusiasm, and who patiently viewed and commented on various rough cuts along the way. I am grateful to my mother Nora Mac Dowell, and to all my siblings, for their love and support during some difficult times, and I would like to thank my sisters Nuala Ahern and Sheila Mac Dowell in particular for their practical help during moments of crisis. I would also like to acknowledge the forbearance of my former wife, Úna Mac Dubhghaill. Finally, I wish to apologize to my children, Dara, Cuán, Rosie, Maidhc and Aobh, for the times I was emotionally unavailable to them during this work, due to exhaustion or for other reasons. v CONTENTS 1 INTRODUCTION ...........................................................................................